Camille Henrot | "Extinction on the Table", 2015 | (for Parkett 97)
Read a Parkett text on Camille Henrot
Parkett Vol. 97
Quote from Parkett
“And yet, the impression remains that the specificity of her works and what they are made of is defined not just by their own qualities but also by a point from which they deviate, one that remains unnamed.”
Diedrich Diederichsen, Parkett no. 97, 2015
Additional Quote
“Henrot, a French artist based in New York, slips seamlessly from video to sculpture, drawing, printmaking, film, photography and installation art … Extinction on the Table has a hybrid ambiguity: it is both a print and a piece of sculpture, a flexible two-sided work on white rubber, it can be hung flat, rolled or loosely folded, and shown on a wall, table or floor… The strange, dreamlike imagery … is beautifully compatible with the pliability of the soft, supple rubber. Henrot … draws with a fluid, effortless line that can look almost Matissean, but while her images have a cartoonish feel, they are also dense, dark and difficult. On the recto, her odd composition, printed black on vermilion, links disconnected images: a white, cloudlike blob; a turtle; and a strange figure glancing sideways, clutching a telephone to his ear … On the verso, a sketchily drawn, muscular nude, seen from the back, grabs at a faceless hermaphrodite; a dog, tail wagging, nips at the figure’s elbow, its head floating upward away from its body. Touching on the relationship between humans and animals, desire, the complexities of gender identity, mythology, technology and aging, the enigmatic Extinction on the Table resembles a rebus puzzle that can never be solved.” – Laurie Hurwitz, Art in Print, vol. 6, no. 3
"Extinction on the Table", 2015 (for Parkett 97)
Two UV prints one on each side of a sheet of white nitrile rubber,
(the work can be installed either flat or loosely and carefully
draped on the wall, a table or the floor), with two grommets.
22 x 30 x 1/8” (55 x 75 x 0,35 cm), ca. 6lb,
Printed by Laumont, New York,
Ed. 35 / XX, signed and numbered
Read a Parkett text on Camille Henrot
Parkett Vol. 97
Quote from Parkett
“And yet, the impression remains that the specificity of her works and what they are made of is defined not just by their own qualities but also by a point from which they deviate, one that remains unnamed.”
Diedrich Diederichsen, Parkett no. 97, 2015
Additional Quote
“Henrot, a French artist based in New York, slips seamlessly from video to sculpture, drawing, printmaking, film, photography and installation art … Extinction on the Table has a hybrid ambiguity: it is both a print and a piece of sculpture, a flexible two-sided work on white rubber, it can be hung flat, rolled or loosely folded, and shown on a wall, table or floor… The strange, dreamlike imagery … is beautifully compatible with the pliability of the soft, supple rubber. Henrot … draws with a fluid, effortless line that can look almost Matissean, but while her images have a cartoonish feel, they are also dense, dark and difficult. On the recto, her odd composition, printed black on vermilion, links disconnected images: a white, cloudlike blob; a turtle; and a strange figure glancing sideways, clutching a telephone to his ear … On the verso, a sketchily drawn, muscular nude, seen from the back, grabs at a faceless hermaphrodite; a dog, tail wagging, nips at the figure’s elbow, its head floating upward away from its body. Touching on the relationship between humans and animals, desire, the complexities of gender identity, mythology, technology and aging, the enigmatic Extinction on the Table resembles a rebus puzzle that can never be solved.” – Laurie Hurwitz, Art in Print, vol. 6, no. 3
"Extinction on the Table", 2015 (for Parkett 97)
Two UV prints one on each side of a sheet of white nitrile rubber,
(the work can be installed either flat or loosely and carefully
draped on the wall, a table or the floor), with two grommets.
22 x 30 x 1/8” (55 x 75 x 0,35 cm), ca. 6lb,
Printed by Laumont, New York,
Ed. 35 / XX, signed and numbered
Read a Parkett text on Camille Henrot
Parkett Vol. 97
Quote from Parkett
“And yet, the impression remains that the specificity of her works and what they are made of is defined not just by their own qualities but also by a point from which they deviate, one that remains unnamed.”
Diedrich Diederichsen, Parkett no. 97, 2015
Additional Quote
“Henrot, a French artist based in New York, slips seamlessly from video to sculpture, drawing, printmaking, film, photography and installation art … Extinction on the Table has a hybrid ambiguity: it is both a print and a piece of sculpture, a flexible two-sided work on white rubber, it can be hung flat, rolled or loosely folded, and shown on a wall, table or floor… The strange, dreamlike imagery … is beautifully compatible with the pliability of the soft, supple rubber. Henrot … draws with a fluid, effortless line that can look almost Matissean, but while her images have a cartoonish feel, they are also dense, dark and difficult. On the recto, her odd composition, printed black on vermilion, links disconnected images: a white, cloudlike blob; a turtle; and a strange figure glancing sideways, clutching a telephone to his ear … On the verso, a sketchily drawn, muscular nude, seen from the back, grabs at a faceless hermaphrodite; a dog, tail wagging, nips at the figure’s elbow, its head floating upward away from its body. Touching on the relationship between humans and animals, desire, the complexities of gender identity, mythology, technology and aging, the enigmatic Extinction on the Table resembles a rebus puzzle that can never be solved.” – Laurie Hurwitz, Art in Print, vol. 6, no. 3
"Extinction on the Table", 2015 (for Parkett 97)
Two UV prints one on each side of a sheet of white nitrile rubber,
(the work can be installed either flat or loosely and carefully
draped on the wall, a table or the floor), with two grommets.
22 x 30 x 1/8” (55 x 75 x 0,35 cm), ca. 6lb,
Printed by Laumont, New York,
Ed. 35 / XX, signed and numbered
Parkett Text
Read a selected text on Camille Henrot
Parkett Cover
Camille Henrot’s work on the cover of Parkett no. 97
